(Music)
(Glasba)
What you just heard are the interactions of barometric pressure, wind and temperature readings that were recorded of Hurricane Noel in 2007. The musicians played off a three-dimensional graph of weather data like this. Every single bead, every single colored band, represents a weather element that can also be read as a musical note. I find weather extremely fascinating. Weather is an amalgam of systems that is inherently invisible to most of us. So I use sculpture and music to make it, not just visible, but also tactile and audible.
Kar ste pravkar slišali, je kombinacija barometričnega tlaka ter zapisov vetra in temperature, posnetih v času divjanja hurikana Noel leta 2007. Glasbeniki so odigrali tridimenzionalni graf vremenskih podatkov, kot je ta. Vsaka kroglica, vsaka barvna paličica predstavlja enega od vremenskih elementov, ki ga lahko odčitamo tudi kot glasbeno noto. Vreme me izjemno navdušuje. Vreme je mešanica sistemov, ki je večini od nas sama po sebi nevidna. Zato preko skulptur in glasbe naredim vreme ne le vidno, pač pa tudi otipljivo in slišno.
All of my work begins very simple. I extract information from a specific environment using very low-tech data collecting devices -- generally anything I can find in the hardware store. I then compare my information to the things I find on the Internet -- satellite images, weather data from weather stations as well as offshore buoys. That's both historical as well as real data. And then I compile all of these numbers on these clipboards that you see here. These clipboards are filled with numbers. And from all of these numbers, I start with only two or three variables. That begins my translation process.
Vsa moja dela se začnejo zelo preprosto. Iz določenega okolja pridobim informacije z uporabo zelo enostavnih naprav za zbiranje podatkov -- praktično vse lahko dobim v trgovini s tehnično opremo. Podatke nato primerjam s tistimi na internetu -- s satelitskimi posnetki in vremenskimi podatki z vremenskih postaj in boj na morju. Ti podatki so tako pretekli kot aktualni. Številke nato vnesem na take podložne mape. Te mape so polne številk, od katerih pa začnem le z dvema ali tremi spremenljivkami. S tem se začne prevajalski postopek,
My translation medium is a very simple basket. A basket is made up of horizontal and vertical elements. When I assign values to the vertical and horizontal elements, I can use the changes of those data points over time to create the form. I use natural reed, because natural reed has a lot of tension in it that I cannot fully control. That means that it is the numbers that control the form, not me. What I come up with are forms like these. These forms are completely made up of weather data or science data. Every colored bead, every colored string, represents a weather element. And together, these elements, not only construct the form, but they also reveal behavioral relationships that may not come across through a two-dimensional graph.
sredstvo prevajanja pa je zelo preprosta košara. Košaro sestavljajo vodoravni in navpični elementi. Ko tem elementom določim vrednosti, lahko preko sprememb podatkovnih točk v času ustvarim obliko. Za pletenje košare uporabljam naravno trstičje, saj je zanj značilna napetost, ki je ne morem popolnoma nadzorovati. To pomeni, da obliko določajo številke, ne jaz. Končni rezultat so telesa, kot je to. Te oblike so v celoti osnovane na vremenskih ali znanstvenih podatkih. Vsaka barvna kroglica, vsak obarvan niz predstavlja vremenski element. Skupaj vsi ti elementi ne le sestavljajo obliko, pač pa tudi razkrivajo vedenjske odnose, ki ne bi bili vidni v dvodimenzionalnem grafičnem prikazu.
When you step closer, you actually see that it is indeed all made up of numbers. The vertical elements are assigned a specific hour of the day. So all the way around, you have a 24-hour timeline. But it's also used to assign a temperature range. On that grid, I can then weave the high tide readings, water temperature, air temperature and Moon phases. I also translate weather data into musical scores. And musical notation allows me a more nuanced way of translating information without compromising it.
Če pogledate od blizu, lahko vidite, da dejansko vse sestoji iz številk. Navpičnim elementom pripišem določeno uro v dnevu. Okrog in okrog torej teče časovni niz 24 ur. Prav tako pa je predstavljen tudi temperaturni razpon. Na tako mrežo nato lahko vtkem podatke o plimi, temperaturi vode in zraka ter Lunine mene. Vremenske podatke prevedem tudi v partiture. Notni zapis mi namreč omogoča bolj niansiran način prevoda podatkov, ne da bi jih bilo treba poenostaviti.
So all of these scores are made up of weather data. Every single color, dot, every single line, is a weather element. And together, these variables construct a score. I use these scores to collaborate with musicians. This is the 1913 Trio performing one of my pieces at the Milwaukee Art Museum. Meanwhile, I use these scores as blueprints to translate into sculptural forms like this, that function still in the sense of being a three-dimensional weather visualization, but now they're embedding the visual matrix of the musical score, so it can actually be read as a musical score.
Tako so vsi ti notni zapisi osnovani na vremenskih podatkih. Vsaka barva, pika, vsaka črta je vremenski element. Vse te spremenljivke skupaj pa sestavljajo partituro, preko katerih sodelujem z glasbeniki. To je Trio 1913, ki izvaja enega mojih del v Muzeju umetnosti Milwaukee. Istočasno so ti notni zapisi načrti za oblike skulptur, kot je ta, ki še vedno delujejo kot tridimenzionalni prikaz vremena, hkrati pa vsebujejo vizualni vzorec glasbenega zapisa in ga lahko kot takega tudi beremo.
What I love about this work is that it challenges our assumptions of what kind of visual vocabulary belongs in the world of art, versus science. This piece here is read very differently depending on where you place it. You place it in an art museum, it becomes a sculpture. You place it in a science museum, it becomes a three-dimensional visualization of data. You place it in a music hall, it all of a sudden becomes a musical score. And I really like that, because the viewer is really challenged as to what visual language is part of science versus art versus music.
Kar mi je pri tem delu všeč, je, da spodnaša naše predpostavke, kakšen vizualni zaklad spada v svet umetnosti in kakšen v svet znanosti. To delo tu lahko beremo na različne načine, odvisno od kraja postavitve. V muzeju umetnosti postane umetniška skulptura. V naravoslovnem muzeju postane tridimenzionalni prikaz podatkov. V koncertni dvorani pa postane glasbeno delo. To mi je še posebej všeč, saj opazovalcu dà misliti, kakšen vizualni jezik je del znanosti, kakšen umetnosti in kakšen glasbe.
The other reason why I really like this is because it offers an alternative entry point into the complexity of science. And not everyone has a Ph.D. in science. So for me, that was my way into it.
Drug razlog, zaradi česar mi je všeč, pa je, da ponuja alternativni pristop k znanstveni kompleksnosti. Nima namreč vsakdo doktorata v znanosti. To je bil torej moj način videnja.
Thank you.
Hvala lepa.
(Applause)
(Aplavz)